1.3 - A practice of analysis in the tonal harmonic discourse from Bach to Wagner ||
A) FORMULAS - 1. Definition of a formula :: 2. Presentation of the little catalogue of harmonic vocabulary :: 3. User's guide to the little catalogue and various instructions :: 4. Examples illustrating the little catalogue (motifs: 1, 2, 3, 4, 5, 6a, 6b, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, motifs in combination)
B) SEQUENCES - 1. Definition of a harmonic sequence :: 2. Classifying sequences :: 3. Melodic formulations: characteristic motifs :: 4. The tonal nature of the harmonic sequence :: 5.The tripartite structure of the harmonic sequence :: 6. A modulating sequence or not? :: 7. Diversification of harmonic content :: 8. The harmonic sequence as a place of subversion :: 9. Conclusion

9. CONCLUSION

Many other factors, both similar and diverse, merit attention with respect to the harmonic sequence in tonal music from Bach to Wagner. They all arise from the same attitude that seeks freedom within familiar and reassuring boundaries. Only when we can situate ourselves within a tonal context can tonal appreciation can be achieved. And if, at this moment of conclusion, we question the privileged place of the harmonic sequence as the portion of the musical discourse likely to appear most frequently, the answer is simple. The harmonic sequence is omnipresent from Bach to Wagner. It infiltrates everything. From preamble to finale to coda. From thematic elaboration (either part of a theme or even a theme in its entirety) to transition to development. In small forms and in large. Composers of tonal music cannot escape it. Neither can the listener. An undeniable source of delight for both, it seemed to us that it was worth decoding.

IV - By way of a general conclusion